Much analysis of gangster movies has been based upon a study of the gangster as a malign figuration of the American Dream, originally set in the era of the Depression. This text extends previous analysis of the genre by examining the evolution of gangster movies from the 1930s to the contemporary period and by placing them in the context of cultural and cinematic issues such as masculinity, consumerism and technology. With a close examination of many films from Scarface and Public Enemy to Reservoir Dogs and Pulp Fiction , this book provides a fascinating insight into a topical and popular subject.

Mob Culture offers a long-awaited, fresh look at the American gangster film, exposing its hidden histories from the Black Hand gangs of the early twentieth century to The Sopranos. Departing from traditional approaches that have typically focused on the "nature" of the gangster, the editors have collected essays that engage the larger question of how the meaning of criminality has changed over time. Grouped into three thematic sections, the essays examine gangster films through the lens of social, gender, and racial/ethnic issues.

Dreams and Dead Ends provides a compelling history of the twentieth-century American gangster film. Beginning with Little Caesar (1930) and ending with Things To Do In Denver When You're Dead (1995), Jack Shadoian adroitly analyzes twenty notable examples of the crime film genre. Moving chronologically through nearly seven decades, this volume offers illuminating readings of a select group of the classic films--including The Public Enemy, D.O.A., Bonnie and Clyde, and The Godfather--that best define and represent each period in the development of the American crime film. Richly illustrated with more than seventy film stills, Dreams and Dead Ends details the evolution of the genre through insightful and precise considerations of cinematography, characterization, and narrative style. This updated edition includes new readings of three additional movies--Once Upon a Time in America, Things To Do In Denver When You're Dead, and Criss Cross--and brings this clear and lively discussion of the history of the gangster film to the end of the twentieth century.

The novelization of American Gangster, the major motion picture from Universal Pictures about Frank Lucas, drug czar of Harlem. The film stars Denzel Washington and Russell Crowe, and is directed by Ridley Scott. For decades the Mafia controlled the flow of heroin onto the streets of Harlem. Frank Lucas changed all that. Born in rural North Carolina, he came to New York and rose to power under notorious mobster Bumpy Johnson. When Bumpy died, Frank moved to take over the drug business. Caught in a squeeze play between the Mafia and the street dealers, Frank got creative. Instead of being a tool of the mob, he went straight to the source—Cambodia—and set up his own unique distribution system. Using his brothers as his lieutenants and selling "quality" heroin in trademark blue plastic bags, Frank Lucas and his "Country Boys" became the kings of One Hundred Twenty-Fifth Street. Frank had it made. He was rich, successful, and untouchable. . . . . . . until Richie Roberts came along. Roberts, the Eliot Ness of drug enforcement, became a pariah among other detectives in the NYPD when he turned in the million dollars in cash he found in the trunk of a dealer's car. His personal life was a mess—his wife left him, and his son hardly knew him anymore—but on the job, Roberts was all business, and his business, heading up a Federal Narcotics Squad, was busting big-time dealers. His next target? Frank Lucas. This violent, action-filled chronicle of a uniquely American family is based on Ridley Scott's film, itself based on a New York magazine profile, "The Return of Superfly" by Mark Jacobson. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.

Table of contents

McCarty provides a history of gangsters in American film and a look at why welove them.

This volume examines the gangster film in its historical context with an emphasis on the ways the image of the gangster has adapted and changed as a result of socio-cultural circumstances. From its origins in Progressive-era reforms to its use as an indictment of corporate greed, the gangster film has often provided a template for critiquing American ideas and values concerning individualism, success, and business acumen. The gangster genre has also been useful in critically examining race and ethnicity in American culture in terms of "otherness." Films studied include Musketeers of Pig Alley (1912), The Racket (1928), The Captive City (1952), The Godfather, Part Two (1974), Goodfellas (1990), and Killing Them Softly (2012).